Kevin Crust

The film's tone is on the sitcom side, but its likable cast and zany subplots make it palatable.

Grounded by a gutsy, over-the-edge-and-back performance by Paul Kaye as Frankie, It's All Gone Pete Tong takes the long way around before finally redeeming itself.

Ripped directly from Disney's playbook of inspirational sports movies, it's devoid of any original elements that might deter it from that successful formula, hewing closer to the sentimental cliches of "Remember the Titans" than the much better "Miracle" or "The Rookie."

A visually wondrous experience in high-contrast black and white, bogged down by a slow, underwrought story and uninvolving characters. It would be easy to dismiss it as another great-looking film with little else to offer, but that wouldn't be entirely true.

Deliberate silliness is hard to sustain, but Undertaking Betty pretty much succeeds.

No surprises await, but the performances by Scott Thomas, Horgan and company and some pleasant harmonizing make Military Wives palatable Memorial Day weekend viewing.

More athletes than actors, Raffaelli and Belle are terrific when their bodies are in motion but the movie grinds to a halt when they open their mouths.

An oddly appealing, if innocuous, movie of considerable charm.

Despite the creakiness of the vehicle, there are some genuinely funny moments and observations.

A movie-of-the-week treatment of race and class, the film credibly portrays the day-to-day workings of an urban ministry.

Bisexuality certainly increases the geometric possibilities of the romantic comedy, completing its triangles and allowing for quadrangles and other, more amorphous layers of amorous involvement.

A good supporting cast — including Isiah Whitlock Jr., Harris Yulin, Tom Everett Scott and Josh Lucas as a hindrance to John’s plans — gives Kelly much to play off, but the story is too rote to get worked up about any of the conflicts.

If the segments are uneven, Moncrieff -- with the help of her excellent cast -- nevertheless crafts a gripping overall narrative that exposes a shared dissonance among the protagonists.

Movies about male friendship are often trivialized with the "buddy" tag, but this one resonates beyond that.

A curious film in multiple ways, Cielo does not always achieve its lofty ambitions of transcendence. However, accompanied by the eerie silence of the desert and the plaintive wail of Philippe Lauzier’s mournful score, McAlpine’s visuals transport the viewer to a state of reflection while reminding us of the sublime beauty of the space above.

Not Brooks' funniest film, but it possesses his trademark wry humor and is slyly observant.

The prescription of rest, meditation, exercise and nutrition is not exactly fresh, but Coors’ story is inspiring and the message that mental, physical and spiritual health are inextricably linked is one we cannot hear often enough.

Black is interested in big themes -- including guilt and redemption -- and is helped by a strong cast capable of carrying the dramatic sequences.

It's a bare-knuckled crime drama set in 1988 that stylistically could have been made that year and emphasizes Gray's strengths as a director while drawing attention to his limitations as a writer.

The movie has a lot of the elements that might make it thrilling and it's visually arresting, but it's missing the emotional connection necessary to make it interesting.

Hawkes is terrific with a softer-edged character than we’re used to seeing from the actor (“Deadwood,” “Winter’s Bone”). He’s heartbreaking in scenes where disappointment and resignation play across his face. Lerman is a fine foil, energizing scenes with his edgy impatience and willingness to be unlikable for the majority of the film.

Brosnan and Neeson make fine adversaries mining the terse dialogue for veiled dramatic fervor.

The interviews are carefully augmented with speeches by President Bush and other administration officials, plus footage from Iraq and Afghanistan, and powerful graphics detailing the depletion of the global oil supply.

The characters are familiar movie types sufficiently fleshed out and well performed to hit all the emotional and comedic cues. The fight scenes and stunts — especially a masterfully choreographed motorcycle chase throughout the stadium — and a lack of obvious CGI provide the requisite thrills.

An amusing if slight excursion into nature with a group of animals who turn the tables on their collective nemeses, the hunters.

"Inspired by" is an interesting phrase because the movie is more inspiring than inspired. The man's struggles are emotionally engaging, but dramatically it lacks the layering of a "Kramer vs. Kramer," which it superficially resembles.

Ultimately, it’s an inspiring account of an elite athlete with the tenacity (and resources) to battle adversity and keep his dream alive.

While an effective rebuttal to media stereotyping, especially in its own portrayals of people of color and the LGBTQ community, Hillbilly feels less assured in dealing with the election, a subject that is getting a little tired but no less confounding.